People Like You
Contemporary Figures of Personalisation

People Like You

Personalisation is changing many parts of contemporary life, from the way we shop and communicate to the kinds of public services we access. We are told that purchases, experiences, treatments, and interactions can all be customised to an optimum.

As a group of scientists, sociologists, anthropologists and artists, we are exploring how personalisation actually works. What are optimum outcomes? Do personalising practices have unintended consequences?

We argue that personalisation is not restricted to a single area of life and that personalised practices develop, interact and move between different sites and times. The project is split into four areas: personalised medicine and care; data science; digital cultures; interactive arts practices.

People Like You: Contemporary Figures of Personalisation is funded by a Collaborative Award in the Medical Humanities and Social Sciences from The Wellcome Trust, 2018–2022.


This is a … toilet

Celia Lury

2 March 2019

Celia Lury

2 March 2019

This is a … toilet

In the project ‘People Like You’ we are interested in the creation and use of categories: from the making of natural kinds to what has been called dynamic nominalism, that is, the process in which the naming of categories gives opportunities for new kinds of people to emerge. And while the making of categories is often the prerogative of specialised experts, the last few years have seen a proliferation of categories associated with social, political and medical moves to go beyond the binaries of male/female and men/women. Emerging categories include: transgender, gender-neutral, intersex, gender-queer and non-binary.

The question of who gets included, who gets excluded and who belongs in categories is complicated, and depends in part on where the category has come from, who created it, who maintains it, who is conscripted into it, who needs to be included and who can avoid being categorised at all. Categories are rarely simply accepted; they need to be communicated, are frequently contested and may be rejected. There is a politics of representation in the acceptance – or not – of categories.

Take this example of a sign for a ‘gender-neutral’ toilet. Before I saw it, I knew what would be behind the door to which it was attached since the building work associated with the conversion of men’s and women’s toilets into gender-neutral toilets had taken weeks. But when the building work was finished and I was confronted with this sign – marking the threshold into a new categorical space – I didn’t know whether to laugh or cry. I am familiar, as no doubt you are too, with signs for what might now be called gender-biased toilets; that is, toilets for either men or women. Typically, the signs make use of pictograms of men or women, with the figure for ‘women’ most frequently distinguished from an apparently unclothed ‘man’ by the depiction of a skirt. Sometimes the signs also employ the words ‘men’ and ‘women, or ‘gentlemen’ or ‘ladies’. But the need to signal to the viewer of the sign that they would be occupying a gender-neutral space on the other side of the door, seemed to have floored the institution in which the toilet was located. The conventional iconography was, apparently, wanting. Perhaps it seemed impolitic – too difficult, imprudent or irresponsible – to represent a category of persons who are neither ‘men’ nor ‘women’. But in avoiding any representation of person, in making use of the word and image of a toilet (which of course is avoided in the traditional iconography, presumably as being impolite if not impolitic), I couldn’t help but think that the sign was inviting me – if I was going to step behind the door – to identify, not with either the category ‘men’ or ‘women’, but with a toilet. The sign intrigued me. Why, I wondered, if it was considered so difficult to depict a gender-neutral person, not just make this difficulty visible once, and simply show either a pictogram of a toilet or the word ‘toilet’? Why ‘say’ toilet twice? I recalled a work of art by the artist Magritte titled The Treachery of Images (1926). In this work, a carefully drawn pipe is accompanied by the words ‘Ceci n’est pas une pipe’, or ‘This is not a pipe’. Magritte himself is supposed to have said, The famous pipe. How people reproached me for it! And yet, could you stuff my pipe? No, it’s just a representation, is it not? So if I had written on my picture ‘This is a pipe’, I’d have been lying! In an essay on this art work (1983), Michel Foucault says the same thing differently: he observes that the word ‘Ceci’ or ‘This’ is (also) not a pipe. Foucault describes the logic at work in the art work as that of a calligram, a diagram that ‘says things twice (when once would doubtless do)’ (Foucault 1983: 24). For Foucault, the calligram ‘shuffles what it says over what it shows to hide them from each other’, inaugurating ‘a play of transferences that run, proliferate, propagate, and correspond within the layout of the painting, affirming and representing nothing” (1983: 49). What, then, does the doubling of the gender-neutral door sign imply about the category of the gender-neutral? Perhaps there is a nostalgia for when there was of play of transferences, when the relations between appearance and reality could be – and were – continually contested. Perhaps, however, it is a new literalism, what Annette Rouvroy and Thomas Berns call ‘a-normative objectivity’ (2013). Then again (and is this my third or fourth attempt to work out why the sign made me want to laugh and cry?), perhaps there is also an invitation to call into existence ‘something’– rather than the ‘nothing’ that Foucault celebrates – even if, for the category of the gender-neutral to come into existence, you have to (not) say something twice.



Foucault, F. (1983) This is Not a Pipe, translated and edited by J. Harkness, Berkeley and Los Angeles: University of California Press.

Rouvroy, A. and Berns, T. (2013), ‘Algorithmic governmentality and prospects of emancipation’, Reseaux, 2013/1 no. 177, pp. 163-196, translated by Elizabeth Libbrecht.


Competition Event

30 April, 2019

Competition on the theme of People Like You

Competition on the theme of People Like You

Competition Brief

Have you ever been told ‘People like you like things like this’? Recommendations that come in this form are examples of personalisation.

Personalisation practices address you as an individual with unique tastes and preferences, whilst simultaneously saying you are similar to other people. Maybe you are ‘like’ someone else because you ‘like’ the same things. Maybe you are like others in other ways: you have the same interests; you share the same health condition; you like cats, not dogs; you don’t like being labelled. Maybe you’re not like others at all – maybe personalised services feel anything but personal to you. 

How do you imagine ‘People like you?’ What are your experiences of personalisation? When do they get it right and how do you respond when they get it wrong?

Share an image, text, data-based or number-based entry on the theme of ‘People like you’ for a chance to win. Let us know which entry you like best!

First prize: £250; second prize: £75; third prize: £50.

People’s Choice prize: £100

The competition opens on Monday the 4th of March and will close on the 30th April. Winners will be announced on Friday 31st May.

To enter, please visit the Competition website

People Like You is a research project funded by the Wellcome Trust (grant no: 205456/Z/16/Z).


Day S., Lury, C.

Quantified: Biosensing Technologies in Everyday Life, 2016

This chapter argues that tracking involves an increasingly significant and diverse set of techniques in relation to the ongoing transformation of relations between observer and observed, and between observers. These developments include not only the proliferation of individual sensing devices associated with a growing variety of platforms, but also the emergence of new data infrastructures that pool, scale, and link data in ways that promote their repurposing. By means of examples ranging from genes and currencies to social media and the disappearance of an airplane, it is suggested that practices of tracking are creating new public-private distinctions in the dynamic problem space resulting from the analytics that pattern these data. These new distinctions are linked to changing forms of personhood and changing relations between market and state, economy and society.

Day, Sophie E. and Lury, Celia. 2016. Biosensing: Tracking Persons. In: Dawn Nafus, ed. Quantified: Biosensing Technologies in Everyday Life. Cambridge MA: MIT Press, pp. 43-66. ISBN 978-0-262-52875-7 [Book Section]